Clive Owen plays cards close to his chest in compelling ‘Croupier’ revisited after 25 years

June 6, 2025 by

Clive Owen and critic Stephen Farber discuss “Croupier” Wednesday night at the Laemmle Royal in Los Angeles.

Writers are a bit like gamblers. They look for lucky breaks, they hope agents or editors will give their work a chance, they meet deadlines with a nervous mix of triumph and trepidation. Win, lose or break even, they keep taking the bet.

This comparison comes to life in “Croupier,” a British neo-noir directed by Mike Hodges and starring Clive Owen, which released in the US in 2000 and put Owen on the path to Hollywood stardom. The film screened Wednesday night at the Laemmle Royal, as part of the Anniversary Classics Series, with Owen in attendance.

Clive Owen plays it cool in the casino.

Owen plays Jack Manfred, a man in need of a job and a writer in search of material. He finds it amid the grit, stale glamour and greed at the Golden Lion casino in London – a job his cheerful grifter father Jack Sr. (Nicholas Ball) has secured for him. His dad likely has had more downs than ups in his business ventures, but breezily pretends to be a big success.

Night after night, cooly detached Jack sees people at their worst as he encounters shady players, sweaty addicts and sexy ladies. While we see him deal cards, we hear the voiceover of his novel in progress based on his observations at the casino – his inner monologue is reminiscent of the flashback VO recounted by screenwriter Joe Gillis (William Holden) in “Sunset Boulevard” (Billy Wilder, 1950).

Gina McKee as Marion sits by her man, Jack (Clive Owen).

When not working, Jack is writing or sleeping, and friction grows with his supportive, supremely loyal, live-in girlfriend Marion (Gina McKee), a department-store security guard. She’s put off by the cynical tone of his book and by the main character who enjoys seeing people lose.

Though Jack says he cannot tolerate cheaters and claims he never gambles, he is a scribe on the sly, after all, and it’s not long before he performs some slick shuffling of his moral code – his risk-taking begins with entanglements that put his job on the line. He’s drawn to co-worker Bella (Kate Hardie) and flirts with a mysterious casino patron hailing from South Africa named Jani (Alex Kingston). “If you don’t call me, I’ll understand, but I hope that you do,” she informs him matter of factly, as she hands him her phone number.

Yani (Alex Kingston) does her femme fatale finest to lure Jack into a scheme.

Not surprisingly, this cig-puffing femme fatale leads Jack further down the road of debauchery, tempting him with a simple role in an inside-job robbery. Steely-eyed, laconic Jack exudes an enigmatic intensity and shows little to no emotion – except on the rare occasion when he completely loses control.

Fast paced with brisk editing and harsh, bleak lighting (nary a noir shadow here), “Croupier” is smart, engrossing, entertaining and laced with moments of dry humor.

Paul Mayersberg’s suspenseful script touches on sexual politics, class divisions, family dynamics, creating art, the duality of human nature and the randomness of existence. If the ending is slightly pat, it doesn’t spoil the story. Owen gives a fine performance as the unflinching anti-hero and his fellow cast members meet him every step of the way, each shining in their roles.

At Wednesday’s screening, critic Stephen Farber and veteran producer/marketing luminary Mike Kaplan introduced the film. Known for his ingenuity and dogged tenacity, Kaplan rescued “Croupier” from almost-certain obscurity. Released with virtually no promotion, the movie (which reportedly had a budget of £3 million) didn’t do well in England.


Director Mike Hodges (1932-2022) remarked at the time, “It wasn’t released. It escaped.” Hodges also directed “Get Carter” (1971), “Pulp” (1972), “Flash Gordon” (1980) and reunited with both Owen and Kaplan for 2003’s “I’ll Sleep When I’m Dead.” He hoped “Croupier” would fare better in America if Kaplan got involved.

“It played for a week in London and it was gone,” said Kaplan. “It was a tragedy because it’s a great movie, but it wasn’t recognized as such … It had an amazing texture of violence with a lot of integrity. It’s technically perfect and it introduced Clive Owen to an international audience in a performance that’s unlike any other.”

Humphrey Bogart, shown here in 1940, was one of many actors’ names critics mentioned in their reviews of “Croupier.” Last year, in a TV miniseries, Owen played Sam Spade, one of Bogart’s most iconic roles.

So, Kaplan championed the film – coming up with a brilliant ad campaign highlighting major actors Owen had been compared to in critics’ reviews. The esteemed list included Humphrey Bogart, Richard Widmark, Robert Mitchum, Sean Connery, James Mason, Nicolas Cage, Paul Newman and Clint Eastwood. “It played at the Fairfax Theatre (now closed) for two weeks and ran at the Aero, which was a second-run theater at the time, for several months,” said Kaplan.

Farber summed up: “It turned out to be a tremendous success and everybody in Hollywood took notice.”

After the film, Owen talked with Farber. Already an established actor in England, Owen recalled that the script intrigued him, especially the dialogue, which was not naturalistic. “The combination of Mike Hodges who’s very specific, very noir, very grounded and Paul Mayersberg who’s very intellectual and abstract in some ways [results in] the scenes having a kind of heightened quality,” said Owen.

Farber asked him to talk about his co-stars. “It was a great cast Mike Hodges put together,” said Owen. “The actors embraced the non-naturalistic style of dialogue and when you’re all committed to it, then the thing can sing.”

Owen added that he loves noir and has returned to the genre over the course of his career, most recently playing Dashiell Hammett’s famous private detective in the “Monsieur Spade” TV miniseries, which ran last year on AMC.

Actress Gina McKee epitomizes the good-girl archetype.

During the audience Q&A, noted Los Angeles writer and publisher of artsmeme.com, Debra Levine asked Owen to share his thoughts about the three female characters and the actresses who played them. She pointed out, in classic noir, there’s a bombshell who brings the character down and, in this film, the women have different trajectories, especially Gina McKee’s character.

Owen responded: “I actually think all the women in their own way are very strong in this movie. They’re all very independent. When I look at it, I think it’s refreshing. I think they are really great parts for women. They’re interesting and they’re powerful women. I think, especially considering it was made 25 years ago, they’re really well written parts and were fun to play. They were all really good actresses as well.”

For him, he acknowledged, the film was a major gear change, radically shifting everything. Said Owen: “It’s something that stayed with me ever since.”

 

Filed Under: Neo Noir Reviews, Noir Style Tagged With: , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , ,

Laemmle Royal Theatre to host 30th anniversary screening of ‘The Last Seduction’ with special guest, director John Dahl

September 27, 2024 by

“Linda Fiorentino [is] the baddest of the bad women, the most full-blown yet utterly believable femme fatale to come along in years.”

— Mick LaSalle, San Francisco Chronicle

Critic Mick LaSalle was writing about “The Last Seduction” (1994, John Dahl) and if you’ve never seen it, you’d better have a damn good reason!

Angelenos can watch this unforgettable neo-noir on the big screen on Tuesday, Oct. 8, at 7 pm, at the Laemmle Royal Theatre in West Los Angeles. Director John Dahl will be the special guest. In honor of the event, part of Laemmle’s Anniversary Classics Series, we’re rerunning our “Last Seduction” review.

The Last Seduction/1994/ITC/110 min.

Years ago, I wrote a weekly column for the Chicago Tribune. I interviewed experts on ways women could work smart and climb the corporate ladder. Most of the time, no matter what the obstacle or dilemma was – job hunting, negotiating a raise, getting a promotion – the bottom line was: do your homework, highlight your achievements and ask for what you want.

In 1994’s “The Last Seduction” by director John Dahl and writer Steve Barancik, Linda Fiorentino as Bridget Gregory takes this advice to dazzling new heights. As the story unfolds, this career maven excels in not just one job, but several. In the opening scene, she’s a supervisor at a telemarketing sales firm in New York City, where she doesn’t ask, she demands. Then she needles her hapless sales guys mercilessly, calling them “maggots, eunuchs and bastards.”

At least they know where they stand. That pat-on-the-back stuff is way overrated.

Later she becomes Director of Lead Generation at an insurance company in a small town in New York state. Under her own steam (at night, of course, this being a noir) she researches prospects for a telemarketing murder business. Hey, it’s not like there isn’t a market.

And she launches an entrepreneurial venture in which she steals a boatload of cash from her husband, malleable Clay (Bill Pullman) and taps loyal-to-a-fault Mike, her lover/investment partner (Peter Berg), to help her. Neither of these dudes is much of a match for her – their chief virtue (besides being good looking) is that they are good at following orders, which is especially true in Mike’s case.

Bill Pullman and Linda Fiorentino play husband and wife.

When one of Mike’s friends asks him: “whadd’ya see in her?” he replies: “a new set of balls.” Her résumé also includes legs that never stop, bedroom eyes and a ready laugh, especially at the expense of doofuses or dumpy small-town mores. Just when you think an interfering man is going to impede her climb to the top, she flicks him away like a speck of lint from her sleek pinstripe suit.

Having done her due diligence, she’s hoping to close the deal in such a way that neither Clay nor Mike can claim a penny of the profit. Talk about multi-tasking. It’s understandable that so much juggling might make Bridget a little irritable from time to time.

Luckily, Mike is nothing if not supportive and just turns the other (butt) cheek when she calls him a rural Neanderthal. When he suggests they go on a date and chat sometime; she asks: “What for?”

When Mike (Peter Berg) suggests going on an actual date, Bridget (Linda Fiorentino) asks, “What for?”

To say that Fiorentino, a Philly native with a fiery intensity, nails the part is an understatement. She is one of the fiercest femmes fatales in all of neo-noir moviemaking. If I were a guy, I think seeing this performance would surely give me an uneasy night’s sleep. I would have loved to see Fiorentino work with Quentin Tarantino, but her career short-circuited fairly early. I have heard she was a tad hard to work with – shocker! Pullman, Berg and the rest of the cast more than hold their own, underplaying their parts and letting Fiorentino hold bitchy court.

Director Dahl is a neo-noir specialist (he also directed “Red Rock West,” “Kill Me Again” and “Rounders”) and the sharp, funny script is peppered with references to noir classics. For instance, Dahl tips his hat to “Double Indemnity” by having Bridget and Mike both work at an insurance company and, when Bridget calls the police to falsely accuse a guy of exposing himself (so she can make a getaway), she gives her name as “Mrs. Neff.”

I suppose that could be evidence of her truly tender heart – in her imagination, the doomed lovers Walter Neff and Phyllis Dietrichson get married and live happily ever after. Yeah, right. But, if Bridget said it, you’d believe her.

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Jeanne Carmen’s life-of-the-party legacy lives on

September 1, 2013 by

Jeanne Carmen was a sultry pin-up model and seasoned B-movie actress.

So, at the memorial service for Marilyn Monroe last month, I met Brandon James. Brandon is the son of Jeanne Carmen, a pin-up model, ace golfer, B-movie actress and friend of Marilyn’s.

Jeanne was born Aug. 4, 1930 in Paragould, Ark., to a family of cotton pickers. After winning a beauty contest at 13, she left home to pursue her dream of Hollywood stardom. Though she never became a top-tier actress, she most definitely left her mark and had a good time – clinking glasses and climbing under the covers with the likes of Elvis Presley, Frank Sinatra and Johnny Roselli.

After Marilyn died on Aug. 5, 1962, mobsters told Jeanne to keep quiet about Marilyn’s connection to the Kennedy clan, according to her son. Jeanne heeded the warning and, leaving her party-girl life behind, became a wife and mother in Scottsdale, Ariz. She died Dec. 20, 2007.

Her name appears in Christopher Andersen’s new book, “These Few Precious Days,” which details JFK’s last year with Jackie, including his presumed affair with Marilyn and use of amphetamines provided by “Dr. Feelgood.” Andersen writes that Marilyn frequently confided in Jeanne during this time, reportedly asking her, “Can’t you just see me as first lady?”

Additionally, a clip of Jeanne in “The Monster of Piedras Blancas” (1959) is used in American Standard’s new at-home movie marathon commercial, which, btw, also features an adorable cat. 😉 The ad will run for four months.

For more info about Jeanne, you can visit Brandon’s site and watch this edition of E! True Hollywood Story. Perhaps more off-screen than on, she was a femme fatale and blonde bombshell who was the scribe and star of her own fascinating drama.

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‘Murder by Contract,’ ‘Nightfall’ and ‘The Prowler’ close LACMA Mid-century California Noir series

May 29, 2012 by

Van Heflin

“Louis B. Mayer once looked at me and said, ‘You will never get the girl at the end.’ So I worked on my acting.” – Van Heflin

I’m glad he did. Heflin, one of my favorite ’40s/’50s actors, had charisma and presence to spare, even if he wasn’t classically handsome. A case in point is 1951’s “The Prowler” by Joseph Losey, which played Saturday night at LACMA, after “Murder by Contract” and “Nightfall,” the last in the Mid-century California Noir series.

My favorite was “The Prowler,” recently restored by UCLA and the Film Noir Foundation. Here, Heflin plays Webb Garwood, a sleazy cop who’s called to a posh, Spanish-style Los Angeles home by lovely and lonely Susan Gilvray (Evelyn Keyes) after she has a vague suspicion that an intruder is lurking in the garden. Turns out, there’s no one there, but Webb and Susan hit it off and soon begin an affair. Susan’s nights are often free because her DJ husband, John, is at the radio station broadcasting his show.

Evelyn Keyes, John Maxwell and Van Heflin in "The Prowler."

It’s a love triangle in the vein of “Double Indemnity” and “The Postman Always Rings Twice” though here it’s Webb, not the femme fatale, who seizes the opportunity to do away with the wealthy husband and snag some money. Webb shoots John, apparently in the line of duty, leaving him free to marry Susan, ditch police work and move to Vegas.

When Susan announces she’s preggers, it crimps the plan rather a lot because the birth will reveal the true timing of their relationship. (This is actually a shocking plot turn because it reveals beyond a doubt that their relationship was sexual – other noirs hint at this, of course, but I can’t think of another example where it is so explicitly established. Not sure how they got that past the censors.) The two take off for a remote mountain town so she can secretly bear the child with no witnesses around. Once there, however, Webb reveals his knavish, venal nature and Susan takes action of her own.

Heflin perfectly inhabits this deeply flawed character, lending him charm and complexity, even making you sort of like him at times. He could play a snake so memorably – he won the Best Supporting Actor Oscar as a gangster’s pal in “Johnny Eager” and he was excellent in both “Possessed” with Joan Crawford and “Act of Violence,” where he played an Army traitor. Another noir highlight was playing Philip Marlowe on NBC radio in the late 1940s.

Heflin was just as adept at playing average Joes and good guys, most notably in “The Strange Love of Martha Ivers” (a film noir with Barbara Stanwyck and Kirk Douglas), “Shane” and “3:10 to Yuma.”

Keyes’ Susan is no vampy seductress. Instead, she plays the character as written – bland, bored and slightly feckless. Perhaps a fish out of water in the big city; she and Webb bond because they both hail from Terra Haute, Ind., albeit from different sides of the tracks. Keyes conveys that Susan is more than just bored – she yearns for children and perhaps something more than she finds in her cushy but unhappy marriage. And to her credit Keyes completely abandons her glamorous exterior when she’s sweating it out in the mountains.

Dalton Trumbo relaxes in Cannes, 1971.

Blacklisted writers Dalton Trumbo and Hugo Butler produced the script based on a story by Robert Thoeren and Hans Wilhelm. Trumbo provided the voice for Susan’s DJ husband; he is completely uncredited on the film.

It’s a movie that grabs you quickly and doesn’t let go – a testament to Losey’s marvelous direction. Cahiers du cinema pointed to “The Prowler” as the moment Losey became a true auteur. And Losey, who suffered professionally because of his supposed ties to the Communist Party, put it this way: “‘The Prowler’ to me is, and always has been, a film about false values. About the means justifying the end and the end justifying the means. $100,000 bucks, a Cadillac and a blonde were the sine qua non of American life at that time and it didn’t matter how you got them.”

For me, “The Prowler” was the hit of the LACMA triple-bill, though “Murder by Contract” (1958, Irving Lerner) and “Nightfall” (1957, Jacques Tourneur) also made compelling viewing. In “Murder,” written by Ben Maddow and Ben Simcoe, luscious Vince Edwards gives a thoroughly haunting performance as a smart, precise, driven hitman; slick cinematography by the brilliant Lucien Ballard and original guitar music by Perry Botkin add to the mood of tension and doom. The film was a key influence on Martin Scorsese and “Taxi Driver.”

Evocative visuals and location shooting in LA and Wyoming, courtesy of Tourneur and first-rate cinematographer Burnett Guffey, make “Nightfall” easy on the eyes. Given that the movie is based on a David Goodis novel (Stirling Siliphant wrote the script), I was disappointed that I found myself drifting in and out of the slightly thin story. Perhaps a dynamic lead actor, like Van Heflin, could have injected more drama, but Aldo Ray as an innocent man on the run just didn’t do it for me. His one-note realization lacked depth and nuance.

That said, I liked Brian Keith as his bad-guy nemesis (Keith probably could have played Ray’s part quite well) and Anne Bancroft as Ray’s romantic interest, a model and sometime bar-fly. Chris Fujiwara, author of “The Cinema of Nightfall: Jacques Tourneur,” calls her “one of Tourneur’s most distinctive heroines.”

And any film noir that features a sumptuous fashion show at the Beverly Hills Hilton is more than all right by me.

“Murder by Contract” and “Nightfall” are available from Sony Pictures Home Entertainment in the Film Noir Classics series; “The Prowler” from VCI Entertainment.

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Film noir gifts for the holidays: Makeup and fragrance

December 8, 2011 by

Bulletproof notes include tea, woods and cedar.

With socializing and chic travel in full swing, you may be looking for a few new additions to your makeup bag or stand-out presents for your beauty-addict chums. Here are my suggestions.

Tailor-made for wicked women is Tokyo Milk’s Femme Fatale collection, eight new fragrances with names like Crushed, Excess, Arsenic and, my favorite, Bulletproof. Fragrance notes too are uncommon: smoked tea, coconut milk, crushed cedar and ebony woods define Bulletproof, for instance. And the design is divine!

A three-piece Femme Fatale set runs $65 and includes 2 ounces of eau de parfum, 3.4 ounces of shea-butter hand cream and one .70 ounce lip elixir/balm. You can also buy items individually. (The photo shows two versions of the hand cream.)

No-fuss drama by Hourglass.

Dior plays the blues.

Hourglass Film Noir Lash Lacquer, $28. Take your look up a notch for nighttime by creating high-drama eyes. Like gloss for the lashes, this Vitamin E-enriched lacquer can be worn alone or over mascara to add a little (or a lot of) shine. “The results are stunning, almost cinematic,” says Hourglass CEO and founder Carisa Janes.

OK, so frosty blue became a hideous icon of the ’70s. But midnight blue has always given inky black a run for its money. Look at the gorgeous color in Dior Blue Tie Essentials and you’ll see why. The gleaming chunky container also houses a square of pretty pink lip color. Regularly $70, this is selling online for $40, but is going fast! Try Bloomingdale’s.

Metallics, martinis. Life's good.

Lancome's lovely set.

Pressed for time? Add instant glitz with a quick metallic dusting on your brow bones and cheekbones with Bobbi Brown’s Martini Shimmer Brick, $40. Also makes a festive gift for a friend.

Hypnôse Drama mascara is the star of this four-piece set from Lancôme, selling at Nordstrom for $29.50 ($68 value). That said, the amazing eye-makeup remover very nearly steals the show and I’m so excited to find it in a travel size! The set includes:

– Hypnôse Drama mascara in Excessive Black
– Travel-size Cils Booster XL mascara base
– Le Crayon khol eyeliner in Black Ebony
– Travel-size Bi-Facil Double-Action eye-makeup remover (1.7 ounces).

L’Oréal Infallible gives a soft sheen and lasts several hours.

Chanel's coveted gloss.

Smoky eyes call for subtle lips and L’Oréal Infallible lip gloss, $12, does the trick. Designed to last for six hours, it’s also a lip plumper. For me, Infallible hasn’t quite lasted the full six hours but it’s easy to apply, feels good on, and comes in a bunch of cool colors. Shown here is Suede.

Chanel’s holiday 2011 collection is breathtaking! You’ll find there’s much to covet and, if struggling to decide, you can’t go wrong with Glossimer lip gloss in Sparkle D’Or, $28.50. On its own or over a red lipstick, Glossimer is sleek, smooth and vibrant.

Being good is so overrated.

Be red-carpet ready with Revlon's Silver Screen.

Want to inject more zest into your office holiday party? Mix it up a little with Good Girl Gone Bad nail polish by Deborah Lippmann, $16. Or choose from the new holiday shades, which are “dripping in glittery excess,” as noted on her company’s site. Gotta love that this time of year, no?

I also love Lippmann’s success: she started her own line of products in 1998 after her flair for nails and color caught on with celebrities and fashion houses (Versace, Valentino, Balenciaga, Donna Karan and Zac Posen).

A stunning red by Nails Inc.

Revlon Silver Screen polish, $6, is a versatile metallic that picks up tints of pewter, shiny gray and muted lavender depending on the light. I can’t find this shade on Revlon’s site, which I found plodding and cumbersome, so I would suggest buying it at your local drug store.

Need a gift for your mani-pedi buddy? Try Nails Inc. London polish in Charing Cross – an irresistible red that Santa’s elves must be scurrying to stock. Company founder Thea Green was honored in June with a MBE (Member of the Order of the British Empire) for her outstanding contribution to the beauty industry. This polish is $19.50 at Sephora.

Precious Oud is a perfect holiday splurge.

Fracas evokes vintage charm.

Tuberose, jasmine, jonquil, lily of the valley, white iris and pink geranium – must be Fracas, the classic fragrance by Robert Piguet, a legendary French designer who mentored Hubert de Givenchy and Christian Dior among others. Said Dior: “Robert Piguet taught me the virtues of simplicity through which true elegance must come.”

Neiman Marcus is selling Fracas sets (3.4-ounce eau de parfum spray and a 6.5-ounce body lotion) for $120. It’s a super deal because that’s the usually the price for the eau de parfum alone.

Such a pretty bottle and an uncommonly sophisticated, slightly exotic, scent (spicy florals with vetiver, wood and patchouli): Precious Oud eau de parfum by Van Cleef & Arpels, $185, at Neiman Marcus.

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Earthy, sexy and wry, Marie Windsor was born to play fatales

September 14, 2011 by

Let’s be fair. Marie Windsor as femme fatale Sherry Peatty in “The Killing” by Stanley Kubrick may seem venal, treacherous and manipulative. And yes she hatches a scheme to feather her nest that’s a bit dangerous. But is it right that she’s punished for being as smart, decisive and daring as the men?

Sherry is married, need I say unhappily, to George (Elisha Cook, Jr.), a nervous, Milquetoast cashier at a racetrack. Through George, she gets wind of a heist taking place at the track by Johnny Clay (Sterling Hayden) and his gang. Sherry tips off her lover Val (Vince Edwards) and comes up with this idea: let George and his friends do the heavy lifting, then she and Val can take off with the stolen cash, about $2 million.

In "The Killing," Marie Windsor as Sherry Peatty is so over her dreary husband George (Elisha Cook, Jr.).

Of course, you could argue that the deeply flawed Sherry is downright immoral. And so are the men. But Sherry only gets as far as she does because of George’s colossal ego. Or perhaps it’s his tremendous capacity for denial. Clearly, she’s been after money all along and she’s tired of George not coming through with it. C’mon, George, did you really think she was into your swagger? (Offscreen, Windsor and Cook were chums. She said of him in a 1992 interview, “Elisha Cook was a darling and full of the devil.”)

Earthy, sexy and wry, Windsor was an actress born to play femmes fatales – with her huge, restless eyes, slightly cynical smile and lean but curvy body. Regardless of how many lines or how many scenes Windsor was in, she had a quality both luminous and tawdry, an expressiveness bordering on vulgarity that meshed perfectly with noir sensibility.

Windsor won an award from Look magazine for her role in "The Killing."

Born and raised in Utah, Windsor was especially popular with directors of Westerns and of noirs (in particular, “Force of Evil,” 1948, by Abraham Polonsky; “The Narrow Margin,” 1952, by Richard Fleischer; and “The Sniper,” 1952, by Edward Dmytryk). Once Windsor had been cast, the director had one less thing to worry about, knowing that she’d nail the character.

Kubrick so wanted Windsor for “The Killing” that he delayed filming until she had wrapped up 1955’s “Swamp Women” by Roger Corman. She was worth the wait; for playing Sherry in “The Killing,” Windsor was rewarded with a 1956 Best Supporting Actress award from Look magazine, a prestigious honor at the time.

Windsor worked steadily in movies and TV through the early 1990s. She was married to Jack Hupp for 46 years, from 1954 until her death in 2000.

Despite Sherry’s, um, blemished character, I prefer her gumption to Johnny’s girlfriend, the desperately needy Fay (Coleen Gray). As Fay tells Johnny: “I’m not very pretty and I’m not smart so please don’t leave me alone any more. I’ll go along with anything you say, Johnny. I always will.”

Ever heard of a spine, lady? Well, Sherry has.

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‘Tabloid’ by Errol Morris tells the bizarre tale of a femme fatale who refuses to give up

July 15, 2011 by

Tabloid/2010/IFC Films/88 min.

Celluloid femmes fatales, though they may lack morals and dabble in deadly sins, are nevertheless pretty easy to like. They have brains, beauty, ambition and style. And it’s just a movie, a 90-minute diversion from reality.

In the real world, however, manipulative, self-absorbed and conniving narcissists typically don’t receive our admiration; if they’re lucky, they might get our compassion. That’s the case with Joyce McKinney, the subject of the latest film from Errol Morris, one of America’s greatest documentarians. It’s a story that’s funny, frenzied and nothing short of astounding.

I was part of a roundtable interview with Morris last Friday and learned more about the film. About three years ago, browsing through the Boston Globe, Morris happened to see a wire story about McKinney, who made headlines most recently for having her dog cloned in South Korea. The story also noted that 30 years before, McKinney had been a front-page fixture in the British tabloids.

Why? Oh, she just wanted her man back. McKinney, a former beauty queen, fell head-over-heels in love with a clean-cut guy named Kirk Anderson. They had discussed marriage and even what to name their kids, McKinney says. But Anderson was (and apparently still is – he refused to be interviewed) a Mormon and was assigned to a mission in England.

According to a 2008 report in London’s Sunday Times: In 1977, the former Miss Wyoming stalked her lover, a Mormon missionary, to a tabernacle in East Ewell, Surrey, allegedly kidnapped him and held him in a cottage in Devon. There, the 17-stone [238 pounds] Kirk Anderson claimed, his petite, busty admirer tied him to a bed using mink-trimmed handcuffs, slipped into a see-through nightie and forced him into sex. At a remand hearing she declared her love for the Mormon with the immortal line: “I’d ski naked down Mount Everest with a carnation up my nose if he asked me.”

Once the story broke, Fleet Street journalists had a field day and McKinney’s bizarre mission was prime Page-One fodder. “Joyce’s story had all the qualities of a crazy B-movie,” says producer Mark Lipson.

Joyce McKinney in an undated photo.

Fast forward to today to a McKinney who did not move on. She didn’t particularly want to. “I think she’s an amazing romantic heroine,” says Morris. “She’s this incredibly romantic soul – an absurdist, romantic figure pursuing some quixotic, hopeless love or the idea of love. She’s remarkable as a person who refuses to give up.”

Morris also likes “Tabloid”’s element of film noir. “I love film noir. … People don’t really have control over their lives in noir. They’re part of some infernal tapestry of design. There’s a sense of inexorability and there’s a sense of inexorability in this story.”

“Tabloid” opens July 15 in Los Angeles and New York.

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‘Hangover Square’ is a deliciously warped little gem

July 3, 2011 by

Hangover Square/1945/20th Century-Fox/77 min.

Linda Darnell

Last Thursday at the Aero Theatre in Santa Monica, I saw “Hangover Square” from 1945 and what a deliciously warped little gem it is! (It was on a double bill with “Psycho” as part of the series honoring composer Bernard Herrmann.) “Hangover Square” stars the spellbindingly sexy and exquisitely stunning Linda Darnell as Netta Longdon, an ambitious music-hall singer in need of good songs.

Enter Laird Cregar playing composer George Harvey Bone, a sweet, lumbering Teddy Bear of a guy. Both are residents of a fictitious square in London, a curious Hollywood-esque dwelling where almost every voice you hear has an American accent.

Femme fatale Netta easily wraps George Bone around her little finger, distracting him from writing more serious music and using him as a babysitter for her long-haired, evil-eyed cat. Of course she has a menacing, demanding cat – who else is going to make sure George gets the songs done by jumping into his lap and glaring at him? Not Netta, she’s out on the town every night.

There’s just one small snag. George has a strange condition, stemming from overwork, that causes him to black out and possibly become violent. Possibly not, but he doesn’t remember. We learn early on in the film that George is on Scotland Yard’s radar, having been examined by Dr. Allan Middleton (the delightfully smarmy George Sanders), but he’s not deemed to be a threat to anyone. Besides, George is adored by the upper crust Sir Henry Chapman (Alan Napier) and his pretty daughter Barbara (Faye Marlowe).

But that was before Netta and her cat entered the picture and insisted George work his chubby fingers to the, well, bone. Strain + strange condition does not bode well for this ill-fated pair. George takes advantage of a Guy Fawkes bonfire to cover up the crime he commits before blithely succumbing to the ravaging flames of another fire.

Skillfully directed by John Brahm (he also directed Cregar in “The Lodger,” 1944) and gorgeously shot by Joseph LaShelle, “Hangover Square” is full-on film noir, even though the story is set around 1900. The shadow-drenched urban nightscapes, themes of alienation and sexual obsession, and Herrmann’s edgy score draw us into the dark, ambiguous, dangerously skewed noir world.

Barré Lyndon wrote the screenplay, based on a 1941 novel by English writer Patrick Hamilton, who also wrote the plays “Gaslight” and “Rope,” which became Hollywood classics. “Gaslight” was directed by George Cukor (1944) and “Rope” by Alfred Hitchcock (1948). In the novel, George Bone was a borderline alcoholic and the story was set in 1939.

But perhaps most chilling is the off-screen story of the stars. [Read more…]

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This month’s reader giveaway: Experience the elegance of Bulgari’s Jasmin Noir body cream

June 3, 2011 by

“Simplicity is the ultimate sophistication,” said Leonardo da Vinci. Somehow I don’t think he had beauty routines or vanity tables in mind when he said this but you never know. He was a Renaissance man, after all.

Bulgari's new body cream absorbs easily, leaving an intoxicating scent.

I recently found a new product that’s really rather captivating in its simplicity, Bulgari’s Jasmin Noir body cream. The plain black jar, minimally adorned with a single gold band, catches the eye. The rich, yet light, cream is a joy to use, keeps skin summer-soft and eliminates the need for any other fragrance.

Earlier this week, I slathered some on after a shower and then dashed out the door for a blowout. “You smell fantastic. What is that?” Nava, the stylist, asked me as she washed my hair. Leaning back, with my feet up, it was the perfect way to relish the feeling of well being and pampering.

Bulgari says it was drawn to jasmine for its “intriguing ambivalence and complexity,” noting that the flower’s scent changes hour by hour. “At dawn, the translucent white flower has a fresh and delicate scent, then at midday it releases a citrusy fragrance that recalls orange blossoms, which then transforms in the evening into the characteristically warmer, more seductive notes.”

Perfect for a femme fatale, no? Also available: soap, bath & shower gel, body lotion and perfume. Bulgari’s Jasmin Noir Body Cream is $90 for 6.9 ounces. To buy it, visit Neiman Marcus.

Best of all, I have an extra jar for this month’s reader giveaway! To enter, just leave a comment on any FNB post, June 1-30. The winner will be randomly selected at the end of the month and announced in early July. Include your email address in your comment so that I can notify you if you win. Your email will not be shared. (The winner of the April giveaway has been selected and contacted.)

Product Source: Bulgari has provided a product for review and a product to give away to a reader. I did not receive compensation.

Filed Under: Noir Stuff Tagged With: , , , ,

Married to the mob, Crawford style: ‘The Damned Don’t Cry’

May 20, 2011 by

The Damned Don’t Cry/1950/Warner Bros./103 min.

Joan Crawford was known for her gorgeous gams.

In “The Damned Don’t Cry,” which is full of sharp dialogue, this line cuts to the chase. Jacqueline DeWit asks Joan Crawford: “What else do we got to sell but a face and figure? And anyone who can make a peplum move like you do don’t need anything else.”

DeWit’s Sandra, a model by day and escort by night, briefly takes Crawford’s character, Ethel Whitehead, under her wing as Ethel learns to fend for herself in New York City. But, in addition to her modeling ability, Ethel has brains and ambition in spades and she soon surpasses Sandra to become the ultimate hard-as-nails femme fatale in this classic Crawford film noir.

Like many femmes fatales, Ethel has humble roots. A downtrodden housewife with a cranky husband (Richard Egan), she eventually rises to the top of a national crime syndicate and lives the high life – travel, the best restaurants, a great apartment, a closet full of swanky clothes. Key to her climb is cultivating contacts such as mild-mannered accountant Martin Blackford (Kent Smith). Ethel is impressed by the letters CPA after his name, even though she’s not quite sure what they mean.

Martin helps her gain entry into the world of tough but urbane George Castleman (David Brian), the leader of the syndicate. “I like men with brains,” Ethel tells George. Finding him far more impressive than number-crunching Marty, she shows up at his office the next day, proves she’s as gutsy as he is and gets a job with his racket. Never one to think twice about mixing business and pleasure, Ethel seals the deal with a kiss.

A quick study, Ethel devotes herself to the syndicate, then takes on a new identity. With polished and distinguished Patricia Longworth (Selena Royle) guiding her, Ethel transforms herself into wealthy socialite Lorna Hansen Forbes. It’s Ethel’s equivalent of an MBA.

But her toughest assignment is when George asks her for some due diligence on gangster Nick Prenta (Steve Cochran). Despite her new name, old habits die hard and Ethel/Lorna falls for Prenta. Naturally, it’s only a matter of time before George susses her out and decides to set things straight.

With its A-list performances, crackling script, crisp pace and striking cinematography by Ted McCord, “The Damned Don’t Cry,” is an ideal noir vehicle for Crawford. The movie is based on an original story by Gertrude Walker; Harold Medford and novelist Jerome Weidman and wrote the script. Also fodder for the story was the real-life affair of Virginia Hill and gangster Bugsy Siegel. The title comes from a line in “Mourning Becomes Electra” by Eugene O’Neill. [Read more…]

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